Hoy se celebra el 60 aniversario de Mafalda, la emblemática historieta creada por Quino. Desde su primera aparición en la revista Primera Plana en 1964, Mafalda ha sido un símbolo de irreverencia y rebeldía, representando los valores y aspiraciones de la clase media argentina. Publicada en numerosos países alrededor del mundo, excepto África, esta pequeña filósofa continúa siendo una embajadora cultural de Argentina y una voz crítica que resuena con las preocupaciones sociales actuales.
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00:00We don't know, of course, but today is Mafalda's 60th birthday.
00:06How would it have been if he had grown up?
00:09If they had updated him to the immortalized strip forever, Mafalda?
00:14What is the importance of Mafalda today?
00:16Luciana Arias, good morning.
00:17Hello, Rolo, very good morning, team, very good morning.
00:19It is the importance of this character, who is really a cultural icon of Argentina.
00:24She is our ambassador in the world.
00:26Why? Because it was published in a huge number of countries, in four of the five continents,
00:32in all, except Africa, as Quino always said, when they said, Mafalda travels the world.
00:36And the truth is that Mafalda started, we are going to tell you about it in this special report,
00:40as a little story, as a character for La Cianditela, that Argentina.
00:49Why? Because it was an advertisement, precisely,
00:52a cover that La Cianditela tried to carry forward through a vignette.
00:58What did Mafalda sell?
00:59Mafalda wanted to sell appliances.
01:02Yes?
01:03It was a new Argentina where women began to ask for appliances.
01:07Women were at home working like housewives.
01:09Well, Mafalda sought to sell appliances.
01:12They say that at that time, those who evoke everyday life,
01:16they say that the great advance that changed life was the laundry.
01:19Of course.
01:20It gave back many hours of life to the women who were at home washing their clothes.
01:26And Mafalda always asked his mother Raquel to be a woman with another perspective,
01:33with another look, but all this, if you like, we tell it in the report.
01:37I start, yes, by the head, by the head, the bow, the factions.
01:51He was born as a character for an advertising of appliances that never came out.
01:55A friend told him, hey, why don't you bring me that story? And it began to be published.
01:59Finally, on September 29, 1964, he saw the light in the magazine Primera Plana.
02:06And from there, his success did not stop.
02:09In a general sense, it makes the media sectors of society in all countries of the world look alike.
02:17It travels a good part of the world and it is Argentina.
02:21Mafalda turns 60 years old.
02:29I think it represents all the values of the middle class,
02:33who would like things to be different, but does nothing to make that happen.
02:38The voice of the people, what we think all the time about what is happening to us, to the country.
02:45It is a feeling, Mafalda, it is a symbol of rebellion, of rebellion, of struggle.
02:49The whole youth of French Mayans was somehow anticipated,
02:53the iconoclastic youth of those years, who came to break structures,
02:57who came to modify everything old into new.
03:00It is rebellion.
03:05The issue of female liberation, of the minifalda, of the anti-conceptuals, was in the air.
03:21Mafalda is a feminist and that is corroborated by those of us who know Quino,
03:25and above all by those of us who know the marriage of Quino.
03:29Alicia Quino always rebelled against the silly issues of machismo.
03:35From that moment they were like fools, then they were dangerous.
03:38The strips of Mafalda were published for nine years,
03:41and today they have more than 20 translations in four continents.
03:46Where did so much empathy with the pain of the human being come from for you?
03:51That need of ...
03:53of my childhood and the Spanish Civil War.
03:56That marked me a lot.
03:59Quino was a humanist, a guy worried about human beings,
04:03with enormous empathy for those around him,
04:06totally atheist and militant in that sense, a progressive guy.
04:13Quino, who had no children, was a great observer,
04:16and he simply wanted to put a speaker to that, right?
04:20Besides, Quino, if you knew him, he was like a big boy.
04:23With the only character that I laughed at,
04:26because I never laugh at my wife, except with very few exceptions.
04:30With Manolito, yes.
04:32When I came up with ideas for Manolito, I laughed a lot.
04:35Both Susanita and Manolito, as well as Felipe, are stereotypes.
04:41They are totally fixed characters in their characteristics,
04:44and throughout the ten volumes that were published during the validity of the strip,
04:49they do not change at all.
04:51We all know or have a friend who is like Susanita,
04:55and another who is like Felipe.
04:57I mean, he is so involved in our childhoods and our teenage years,
05:02that, well, he generated all the phenomenon he generated.
05:05What childhood memories do you have?
05:07That they forced me to eat two plates of soup.
05:11But why always soup, mom?
05:14Look at the symbol of everything they impose on us,
05:17what they force us to eat, the dictatorship of the soup.
05:22You talk about Mafalda in the world,
05:24and I calculate that with Borges and today, with this phenomenon that is happening with Manuela Enriquez,
05:28I think it is the biggest reference that has to do with books from Argentina.
05:33It is very strange even how this phenomenon occurs.
05:35It is a phenomenon, a strip that comes out relatively little time,
05:38in different publications,
05:42and yet it is a reading that went on from generation to generation.
05:46It's amazing, parents buying it for their children, for their daughters,
05:51and it's still like a historical hit in bookstores.
05:55It's like an absolute classic.
05:58Did you recommend it to children, to the youngest?
06:00Yes, yes, my daughter always.
06:02We've always bought books for her since she was little.
06:04I'm from Brazil.
06:05I'm from Paraguay,
06:06and that's where we had a section that showed all the history of Mafalda.
06:10I think it escaped from Quino's hands.
06:13Because it became a cultural icon, it belongs to everyone.
06:20Quino stopped drawing the strip in 1973.
06:24When a lot of blood began to flow in Argentina,
06:27you said that Mafalda had to stop talking.
06:29Yes.
06:30Why?
06:31Because he couldn't shut up about all the atrocities that happened at that time,
06:37nor could he judge things that you didn't understand well.
06:42What happens is that the pressure of the readers was very strong.
06:47There was a letter that was published saying that he committed a murder,
06:52and he always complained, saying that Mafalda was not a person.
06:57I didn't commit a murder.
07:01Since then, Mafalda has been recorded in our memory
07:04as that curious, thoughtful girl with answers full of ingenuity.
07:09A girl who makes you laugh and, above all, think.
07:13She's still a respectable little story, beautifully drawn and beautifully scripted.
07:19On top of that, she's popular.
07:20That Argentine miracle happens.
07:22Quality and popularity.
07:24Tango, football, Dutier.
07:27Mafalda.
07:28Especially Mafalda.
07:31MAFALDA
07:35Juan José Campanella, Mafalda.
07:36Exactly.
07:37It will be published on Netflix.
07:39In principle, what we understand is that it will have about 30% of original gags
07:45and then reversions.
07:47So we'll have to wait and see what comes out.
07:49Mafalda on Netflix.
07:50Exactly.
07:5160 years.
07:5260 years.
07:53It is celebrated on Sunday and it is celebrated all year round.
07:55In addition, the other day, four years of Quino's death will be celebrated.
07:59Thanks, Lu.
08:00No, please.
08:01I'm good.